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DA Final
| Question | Answer |
|---|---|
| PLOT | the arrangement of events, patterned arrangement of events and characters in a drama, with incidents selected and arranged for maximum dramatic impact. |
| STORY: | narrative accounts of what people do, usually in chronological order. In theater, the story must be presented in a limited period of time by living actors and actresses on a stage, and this requires selectivity. |
| The playwright | makes a number of decisions His/her intention may be to entertain, to raise timeless questions, or to make a political or social comment. |
| Structural conventions- | “A meaningful test must be faced by the characters” |
| The opening scene | starts the action, sets the tone and style for everything that follows. The playwright poses an initial problem for the characters, establishing an imbalance of forces or a disturbance in their equilibrium that compels them to respond. |
| OBSTACLE- | Impediments put in a character’s way. That which delays or prevents the achieving of a goal by a character. An obstacle creates complication and conflict. |
| COMPLICATION- | Outside forces or new twists in the plot introduced at an opportune moment. Introduction, in a play, of a new force, which creates a new balance of power and entails a delay in reaching the climax. |
| Crisis | A point in a play when events and opposing forces are at a crucial moment, and when the course of further action will be determined. A play usually builds from one crisis to another. |
| CLIMAX | The highpoint in the development of a dramatic plot. The final and most significant crisis is referred to as the climax. In the climax the issues of the play are resolved, either happily or, in the case of tragedies |
| Deus ex machine- | literally “God from the Machine” a resolution device in classic Greek drama; hence, intervention of supernatural forces- usually at the last moment- to save the action from its logical conclusion. In modern drama, an arbitrary and coincidental solution. |
| Climatic Structure | began with the Greek classic theater. of the play begins when all roads of the past converge at a crucial intersection in the present, at the climax. |
| PROTAGONIST | PRINCIPAL CHARACTER IN A PLAY; THE ONE WHOM THE DRAMA IS ABOUT |
| ANTAGONIST | OPPONENT OF THE PROTAGONIST IN A DRAMA |
| Dramatic characters | Along with structure, the playwright creates dramatic characters. These can range from fully rounded human beings (three dimensional) to so called “stock characters” who are two dimensional. |
| Characteristics of comedy | Temporary suspension of natural laws of probability (“cause and effect” and “logic”) Actions do not have the consequences they have in real life; the idea of suffering and harm are suspended. |
| Characteristics of comedy part 2 | There is usually a contrast between social order and the individual-when something goes wrong-not the laws of society (clear social and moral order), but defiance of the laws by the individual. |
| Comedy of character- | the discrepancy or incongruity lies in the way the characters see themselves or pretend to be as opposed to the way they actually are. |
| Farce | a subclass of comedy with emphasis on exaggerated plot complications and with few or no intellectual pretensions |
| Burlesque | a ludicrous, comic imitation of a dramatic form, play, piece of literature, or other popular entertainment (or person) |
| Satire | comic form, using irony and exaggeration, to attack and expose folly and vice |
| Domestic comedy- | usually dealing with family situations (think sitcom). |
| Comedy of manners- | form of comic drama that became popular in the English Restoration period, set within sophisticated society, while poking fun at its characters’ social pretensions, usually through verbal wit. |
| Comedy of ideas- | a comedy in which the humor is based on intellectual and verbal aspects of comedy, rather than physical comedy or comedy of character. A drama emphasis is on the clash of ideas. (see George Bernard shaw) |
| Tragicomedy | during the renaissance, a play having tragic themes and noble characters but a happy ending; today, a play in which serious and comic elements are integrated. Many plays of this type present a comic or ironic treatment of a serious theme. |
| Modern tragicomedy- | has become the primary approach of many of the best playwrights. |
| The comic premise | an idea or concept which turns the accepted notion of things upside down and makes the upended notion the basis of the play. |
| slapstick | comedy based on deliberately clumsy actions and humorously embarrassing events. |
| OPERA- | in the 16th century a new musical form emerged in Europe and by the 18th and 19th centuries had come to full fruition. It has similarities to drama, but has always been more closely associated with music |
| OPERETTAS | by the late 19th century, two Englishmen, W.S. Gilbert and Arthur Sullivan, created a series of comic operas known as operettas. Here the lyrics were as noteworthy as the music |
| Vaudeville | was best described as a series of separate unrelated acts |
| Revues, | originally, were sketches and vignettes that alternated with musical numbers. No single story line. |
| Musical Theater | A type of theater that integrates songs, spoken dialogue, acting, and dance. The story and emotions are underscored and enhanced by the music and dance, which are fully integrated into the plot. |
| Climatic | a condensed narrative that is focused on fewer characters over a smaller number of locations. |
| Episodic | a drama series containing story-lines and developments that flow from episode to episode |
Created by:
timicia